The Bottineau pioneer. (Bottineau, N.D.) 1885-1895, 1887-09-22
Grazie|Ia the Model.

anu l were gong to n studio OF a
rather eccentric friend of ours, known
to the art world as Frederick Holt, I
was suddenly startled by these words
from my companions:
'W here on earth. old fellow, do you
rake up subjects for your little stories?"
"Ah!' I exclaim ed, 'do you find my
little stories so trivialp"
I confess l was just a trife nettled by
the tone of the question, which was not
complimentary, but, on the contrary,
seemed to imply a slight feeling of
scorn for my brain labors, past, pres
ent and future. was hurt; but having
no extrao rdinary opinion of my friends
literary jud gment, I stifed my anger
and replied in a calm unrufled voice.
ITO day, my good friend, you may
perhaps see the kind of place wherein
l not unfrequently find subjects for my
little stories,' as you are pleased to
call them. At the same Time" I con-
tinued, with that calm irony for
which 1 am noted, '.you must keep
your eyes open; for there are certain
people who are unable to see hey ond
their own noses, and who value literary
work by its bulk, rather than by its
quality. After of roses. my friend, is
offensive to the coarse senses of certain
people, and I have no doubt there arc
men living in this world who would
ask in their ignorance where Shakes
peare picked up the m materials for his
little story of Hamlet"
As I concluded my bitterly sarcastic
speech we found ourselves in a sort OF
courtyard built in the Italian style OF
no particular era, at the end of which
was a door cut in the wall of an old
house. Guarding this door were two
lions in an attitude suggesting that
they intended to hurl themselves
against the bars Of their cage. Their
Neyes were flashing. their mouths open.
and their tongues protruding; but as
.hese terrible beasts were only in the
form of a rough design sketched on the
wall, we boldly approached the door
and passed it with no further mishap
than a slight soiling of u coats with
whitewash and crumbling plaster.
For several days past Frederick Holt
had been almost a fixture in his studio,
working with tremendous energy on a
picture in which he intended to display
all his technique and at the same time
reveal his knowledge of drawing and
of color. His great desire was at the
same time to rouse the interest of a
particular patron well known to the
community of artists; but on account
of some circumstances only known to
himself, Frederick was compelled to
put the finishing touches to his already
yer elaborated picture, with the sick
ening conviction that, after all, it must
90 to the general academy exhibition,
and there be subjected to the cold and
unsympathetic criticisms of a hard.
hearted public.
Our friend had studied for many
years in Europe, and not only had q
great reputation, but had also produc,
cd a few good pictures, which is a
paradox I do not care to explain. As
loon as it was known that an interest.
ing subject was under treatment on his
CuSCls xAlOANS IuA uAO puOA4C ROLC1u 1y
were attracted to his studio.
According to his custom, the artist
had chosen an historical subject; and
fondly believing that his talents would
be judged from the size of his picture,
he had filed an immense canvas with q
representation called .Nero's Dream"
This represented a bare-legged man,
confined in the LAGOON folds of a
streaming toga, standing ON the ruins
OF Il P'artheonic building and wildly
%shiyering at the sight of q multitude OF
phantoms that were ~scantily dressed in
sheets and ~ornamented with clanking
iron chains.
We found. our friend moving nervous.
ly about among his visitors, constantly
approaching his picture to turn it a lit.
tie to the right or left, arranging the
curtains to obtain the best possible
fight. and at the same time watching
the faces of his guests as if he hoped I'd
read the secrets Of their very souls.
Superb, grand, gigantic, massive.
bold. delicate. fine, delightful. Michael
angelesque," were the adjectives freely
banded about.
DO you not find relief in the picture,
a general mastery of color end good
perspective ?" Frederick modestly in
quired. while he enjoyed to the full the
praises of his indulgent brother artist.
Magnificent ! perfect - they ex.
claimed; and they turned their backs to
the picture to enjoy the more refresh.
ing sight of a key of beer that was in
the corner of the studio, and served tc
modify the customary acidity OF the
critical throat and voice.
In the din Of voices no one in the
room seemed to hear several discreet
taps on the door. as there was no re-
81 Spouse to them, the potiere that screen.
ed the entrance was quietly raised, and
the figure Of q young girl appeared.
several of the men.
Come in!" said Frederick, advancing
towards her and holding out his hand.
II fear ! shall disturb you" she
said, with q foreign but agreeable
accent. EXCUSE me;;I will come back
another day.
Frederick, who would willingly hay.
detained the girl, saw her fit from the
room with the grace and shyness Of a
chamOis.
.sThere goes an exception to her Sc,
ID general and her nation in par.
ticular," said the artist with q hall
sigh.
.Ah. how charitable! how gallant
how interestingly exclaimed one of tht
Young men present. but i shoule
like 10 teach your exception gooe
manners.'' he added, rushing e th'
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